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Mindy Newell: Jonas And Jessica

Mindy Newell: Jonas And Jessica

David Tennent Jessica Jones

Did Jonas come to visit you last week?

If so, I hope you and yours are all healthy and safe.

Jonas, of course, is the huge winter storm that not only dumped record-breaking amounts of snow on the Mid-Atlantic States and Eastern Seaboard up to Boston, but also caused major coastal flooding in areas that are still recovering from Sandy, like the Jersey shore. An 84-mile stretch of the Pennsylvania Turnpike was shut down, and 500 cars, trucks, and buses were stranded in the blizzard for almost a full day, with the National Guard delivering medicine, food and water, and gasoline (to keep the cars running and warm) to hundreds of people.

Governor Shamu – I mean New Jersey Governor Chris Christie – finally got the message and left New Hampshire, where he has been campaigning to come back to the state that he ostensibly governs. Everywhere there were travel bans; Mayor Bill de Blasio even banned food deliveries. The airports, of course, cancelled all flights. The U.S. Postal Service – Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds – ignored its motto. The supermarkets were cleaned out – I walked down to my local market at about 1:00 p.m. on Saturday and the only thing left was Soylent Green. And all I wanted was Diet Pepsi and a pack of Salem 100’s.

But compared to many, I was lucky. My power never wavered, my steam radiators steamed. The most I had to worry about was digging my car out yesterday in order to go to work Sunday – and even that turned out incredibly easy, because my downstairs neighbor Lois, her wonderful husband Corey, and their kids did all of the work for me. In fact, all I had to do was clean the windshields and make sure that I could pull out of my parking spot easily. On top of which Lois saved that spot for me by parking her car so that it takes up two spaces, so that when I got home all I had to do was text her to come down and make room.

Yes, those whose cars take up two spaces in my parking-challenged city usually make me curse like a sailor – okay, that’s not hard, but otherwise I doubt I would be able to get to the hospital tomorrow for fear of driving around and around and around the blocks upon reaching home for hours, so today I forgive them and myself.

Aside from the walk to the Soylent Green store and not having to dig out my car, I basically did absolutely nothing, which sometimes is the best thing in the world. I played solitaire on the computer, I did the New York Times crossword puzzle, and then I caught up on Jessica Jones, courtesy of Netflix. I realize I’m a little behind the curve here.

The eponymous, hard-drinking anti-hero is played by Krysten Ritter (Breaking Bad, Veronica Mars), who is joined by Mike Coulter as Luke Cage, Rachael Taylor as Patsy “Trish” Walker, and David Tennant as Killgrave. JJ is dark and ugly and all about the underbelly of the superhero fantasy – the trauma, the amorality, the death, the pain, the anger, the fear, the regret, the isolation. It’s the post-traumatic stress syndrome of the genre. There is no joy in this world. Booze is for dulling the memories, sex is for physical pleasure, marriage is just a road to the inevitable divorce, and love is denied – or at least suspect. Anyone and everyone connected, even incidentally, by the “power enhanced” is scarred physically or emotionally or psychologically, or left for dead or dead. No one is innocent. And no one gets out alive. Not really.

So pretend that I’m Killgrave and that I have the power to control your mind:

In case you haven’t done so yet, watch Jessica Jones.

And keep the kiddies away.

Ed Catto: The Joy of Dreaming the Impossible Dream

CKRT LAB TOYS_Store

Geek Culture has been buzzing about Star Wars: The Force Awakens to an overwhelming degree. It’s been a wonderful way to wrap up the year. Even with a focusing on the marketing, I’ve been talking about it on TV and in Entrepreneur Magazine. But the more I think I about it, the more I realize we may have gotten it wrong. I think we’ve been talking about the wrong movie. Joy, starring Jennifer Lawrence and Robert DeNiro is the movie that should be the poster child for Geek Culture. Let me tell you why.

JOY Jennifer LawrenceMy wife and I saw it last weekend, and I’ll admit I went into the theater thinking it was a (so-called) chick-flick. But now I realize the studio missed the bullseye with their marketing efforts. At the core, it’s an inspirational story of a persistent entrepreneur.

Joy is the tale of a single mom smacked around by the trials and tribulations of a difficult life. She embraces her entrepreneurial passion in order to save the day.

Joy Movie imageIt’s loosely based on the real life of Joy Magnano, the inventor of many household products, including the Miracle Mop.

It’s fair to say that you’ve seen these types of movies before: the hero–with-a-dream struggles to overcome adversity and eventually triumphs. In fact, the hit TV show Shark Tank shows a part of this process each week, as entrepreneurs share their business plans with potential investors and their dreams with the audience.

But the most interesting thing for me was how many times Joy, the heroine, was told, “No, you can’t do that”. Most of the supporting characters, many with well-meaning intentions, tell her what stupid ideas she has and counsel her to abandon her crazy efforts.

And you know what? There are a lot of dumb ideas out there. And it is good for each of us to assimilate the right kind of advice and course correct in our endeavors.

On the other hand, the world of Geek Culture is a world of dreamers who fight against seemingly impossible odds, passionately working to tell a story or create a product. It’s filled with modern day Men (and Women) of La Mancha.

This point was driven home to me last week. As a part of my daily commute through mid-town Manhattan, I saw four huge billboards for Geek Culture –themed TV shows.

In reality, Geek Culture creators who “make it big” are few and far between. Select successes, like that of Robert Kirkman’s The Walking Dead, inspire so many aspiring creators to keep plugging away.

I’m always impressed with these folks. I’m thinking about new creators who have stories to tell and are trying to get published. I’m thinking about an international lawyer I know who wants to spread the word about social injustice through comics. I’m thinking of collectors-turned-makers like my pal Tim Ellis, who’s started CKRT LABs, a brand new superhero toy/collectible company. I’m positive they’ve all heard “No” and “That’s a stupid idea” many times.

One of my favorite Batman moments is from an old Justice League of America comic. All the heroes are trapped on a distant planet in a traditional jail, but they can’t bend the bars open to slip free. The villain taunts Superman that even he couldn’t get out of this nefarious death-trap. So the mighty Superman (who’s done this a million times before) tries to bend the bars but can’t. Then J’Onn J’Onzz (currently co-starring in CBS’s Supergirl) takes a turn. He can’t either. Each of the other heroes subsequently takes his or her turn. Despite their impressive powers, they each fail to bend the prison bars.

Finally, Batman, who is not gifted with superhuman strength, steps up. He admonishes his fellow justice leaguers to remain silent. He grips the bars with both hands and grits his teeth. Astonishingly, he bends the bars apart!

The Justice League is amazed. The Caped Crusader explains it this way:

 “I noticed that before each of you tried to bend those bars, someone told you that you could not do it. I thought can it be possible on this strange world – that what someone is told – is believed to be true?”

That’s a great life lesson and a great entrepreneurial lesson. We can learn it from Batman, we can learn it from the movie Joy and or we can learn it from the many persistent creators working so hard to create comics, graphic novels, collectibles, toys and more in the Geek Culture space.

Just because they tell you that you that you can’t do it doesn’t mean you have to listen to them. Dream the impossible dream.
Batman Bends the Bars 1

 

 

 

 

Stream Game of Thrones Season 5 Now or on Disc in March

Game of Thrones S5The “worldwide phenomenon” (USA Today) is back, breaking more records along the way. Winner of 12 Emmy® Awards (the most of any series in one year) and a Guinness World Record holder for the largest simultaneous broadcast of a TV drama (in 173 countries and territories worldwide), Game of Thrones is bigger than ever in Season 5, and this spring, fans of the hit show will finally have the chance to add this legendary season to their collections before new episodes debut. Game of Thrones: The Complete Fifth Season will be available on Blu-ray ($79.98) and DVD ($59.99) on March 15, 2016. The Blu-ray set features a free Digital HD copy of all 10 episodes, plus exclusive bonus content including a brand new feature that takes an in-depth look at the story behind the Targaryen civil war, known as the Dance of Dragons.

Blu-ray with Digital Copy – includes all DVD features plus:

  • The Dance of Dragons – Hear the story of the Greens and the Blacks, the Targaryen civil war that led to the downfall of the dragons, featuring surprise narration from notable characters from past seasons.
  • In-Episode Guide – Dig deeper into the show with this in-feature resource that provides background information about on-screen characters, locations, and relevant histories.
  • Histories and Lore – Learn about the mythology of Westeros and Essos as told from the varying perspectives of the characters themselves in 14 history pieces. Select Histories feature illustrations from the show’s storyboard artist, Will Simpson.

DVD:

  • Anatomy of an Episode: Mother’s Mercy – From the early stages of the writer’s room to the final visual effects, see what went into creating “Mother’s Mercy,” the Emmy-winning episode fans will be talking about for years to come.
  • The Real History Behind Game of Thrones – Watch historians, along with George R.R. Martin, explore the interweaving inspirations of the actual players in the era known as “The Wars of the Roses” and other historical events in this two-part series
  • Audio Commentaries – Twelve audio commentaries with cast and crew including David Benioff, D.B. Weiss, Peter Dinklage, Lena Headey, Kit Harington, Nikolaj Coster-Waldau, Iain Glen, Maisie Williams, Natalie Dormer, Gwendoline Christie and more.
  • Deleted Scenes – 4 deleted scenes
  • A Day in the Life – Three countries, hundreds of cast & crew, one epic day. Get an inside look at the production process of Season 5.
  • New Characters/New LocationsExplore the new societies, cultures and locations of Season 5.

Season 5 begins with a power vacuum that protagonists across Westeros and Essos look to fill. At Castle Black, Jon Snow struggles to balance the demands of the Night’s Watch with those of newly-arrived Stannis Baratheon, who styles himself the rightful king of Westeros. Meanwhile, Cersei scrabbles to hold on to power in King’s Landing amidst the Tyrells and the rise of a religious group led by the enigmatic High Sparrow, while Jaime embarks on a secret mission. Across the Narrow Sea, Arya seeks an old friend while a fugitive Tyrion finds a new cause. And as danger mounts in Meereen, Daenerys Targaryen finds that her tenuous hold on the city requires some hard sacrifices. This season features some of the most explosive scenes yet, as the promise that “winter is coming” becomes more ominous than ever before.

John Ostrander: Back to the Beginning

Warp Play PosterWhen I get asked by earnest neophytes how to break into comics, my pat answer is “With a pick and a crowbar through the roof in the middle of a moonless night.”

Somewhat less than helpful, I know.

The truth is that I don’t know how to break into comics. I don’t think most of you can go the path I took. I had an old friend – Mike Gold, who you may have seen hereabouts – and he knew I loved comics and he had liked something I had written for the stage and offered me a chance. When Mike had first gone to NYC to work for DC Comics, I pressed on him a sample script I had written for Green Lantern. He dutifully did but the script didn’t go anywhere and it shouldn’t have. I was very keen but very raw in those days (although I did use elements of it eventually; writers are forever cannibalizing themselves).

Fast forward a few years. Mike left DC to return to Chicago and eventually co-found First Comics with Rick Obadiah. The first comic that First Comics was going to print was an adaptation of the play Warp!, produced by the legendary Organic Theater of Chicago. The play trilogy described itself as “the world’s first science fiction epic-adventure play in serial form”. The director and co-writer, Stuart Gordon, freely acknowledged that he was very influenced by Marvel Comics. (We’re talking late 60s, early 70s Marvel. The primo stuff.)

I was – and am – a huge fan of Warp! Heck, I was a huge comic book geek at the time as well. Peter B. Gillis was hired to adapt the play but I got a call one day from Mike (who was now supreme editor and High Poohbah of First Comics) asking me if I would like to try my hand at writing an eight page back-up story.

Of course, I said yes.

And so began the process of picking one of the characters from Warp!, figuring out a story, working out the plot, breaking it down into page and panels, doing it and re-doing it, learning the tricks of the trade as I went. I had written plays which are similar to comic-book scripts but comic book writing has its own practices and demands. I’d write it up, Mike would give me notes, I’d re-write it, I’d get more notes and so on until one day Mike finally called me and congratulated me – they were going to use my story as the back-up feature in the first issue of Warp! which was going to be the first comic published by First Comics.

“Oh,” I replied, “great. Uh … do I get paid for this?”

“Of course, you sap,” Mike replied and gave me the page rate.

As a side note, I’ll mention that at that point I hadn’t written anything for a year or more. I felt I had a bad case of writer’s block. I discovered that there’s nothing like getting a paycheck to dissolve a writer’s block.

I went on from there to write more back-ups. Then I got Mike Grell’s Starslayer as a regular assignment and from there I originated GrimJack thus creating my career or sealing my fate, whichever you prefer.

The fact that I have a career is largely Mike Gold’s doing. As my first editor, he taught me not only the tricks of the trade but how to be a good writer. When Mike returned to DC, he brought me with him. Thanks to Mike, I got the job plotting Legends which was the first big DC crossover following Crisis On Infinite Earths. It may not sound like so much in these days of constant company wide crossover events but it was big back then. (Len Wein did the dialoguing and John Byrne did the pencils.) At Mike’s suggestion, we debuted Suicide Squad in the pages of Legends.

Mike also famously drafted me into doing Wasteland (we brought Del Close along). It was Mike’s idea and I wasn’t sure about it or at least my doing it at first. However, Mike is persuasive and I’ve learned when Mike has an idea to just say yes; at the very least, it will be interesting and potentially it will be some of my best work (as with Wasteland).

Mike has also been a very old, very loyal, and very good friend.

It boils down to this – if you like what I’ve done with my career, hey it’s all due to me.

If you don’t like what I’ve done, blame Mike.

Steve Jobs Comes to Homes via Streaming & Disc in February

Steve JobsUniversal City, California, January 21, 2015 – An intimate and revealing portrait of one of the chief architects of the digital age, Steve Jobs is coming to Digital HD on February 2, 2016, and Blu-ray™ Combo Pack, DVD and On Demand on February 16, 2016, from Universal Pictures Home Entertainment. From Oscar®-winning screenwriter Aaron Sorkin (The Social Network, Moneyball) and Oscar®-winning director Danny Boyle (Slumdog Millionaire, 127 Hours), Steve Jobs is an up-close-and-personal look at the founder of Apple, a remarkable creative genius whose vow to put computers in the hands of ordinary people changed the world.  A “must-see, one-of-a-kind that cannot be ignored” according to Indiewire’s Anne Thompson, Steve Jobs on Blu-ray Combo Pack and DVD also comes with a revealing “making-of” documentary and feature commentary by the filmmakers.

Witness the founder of Apple like never before. Steve Jobs paints an intimate portrait of the brilliant man at the epicenter of the digital revolution, backstage in the final minutes before three iconic product launches. Directed by Academy Award® winner Danny Boyle (Slumdog Millionaire), written by Academy Award® winner Aaron Sorkin (The Social Network) and starring Michael Fassbender, Kate Winslet, Seth Rogen and Jeff Daniels.  Michael Fassbender (Inglourious Basterds, 12 Years a Slave) stars as the enigmatic Jobs, headlining an accomplished cast that includes Academy Award-winner Kate Winslet (The Reader, Titanic), Seth Rogen (Neighbors, This is the End) and Jeff Daniels (The Newsroom, The Martian) in an unexpected and enthralling film that led Peter Travers of Rolling Stone to declare, “Steve Jobs is a triumph.”

BLU-RAY AND DVD BONUS FEATURES:
•    Inside Jobs: The Making of Steve Jobs
•    Feature Commentary with Director Danny Boyle
•    Feature Commentary with Writer Aaron Sorkin and Editor Elliot Graham

The film will be available on Blu-ray™ with DIGITAL HD UltraViolet™ and DVD
•    Blu-ray™ unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.
•    DVD offers the flexibility and convenience of playing movies in more places, both at home and away.
•    DIGITAL HD UltraViolet™ lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download.

The Point Radio: Shatner’s Warp Speed World

Willam Shatner doesn’t slow down. His career is still moving at warp speed with his one man show, a new book (on his friendship with Leonard Nimoy) and a nationwide concert tour that showcases the music of all of STAR TREK. We talk about all that as well as his passion for film making. Plus former PUNISHER Ray Stevenson is back at being bad, this time as Blackbeard in the new season of BLACK SAILS on Starz (premiering tomorrow). How accurate is the portrayal and which other famous pirate is he constantly compared to?

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Marc Alan Fishman: Where’s the Spotify of Comic Books?

teeny simpsons

Go check your phone or computer for the date. Did yours denote the year 2016? Mine did. In the immortal words of my muse, Bartholomew Simpson… “God-schmod, I want my monkey man!”

Now Bart was referencing a future in which humanity would have half-man/half-monkey hybrids as pets. While I too would love such an abomination on the open market, I come today in search of another future technology that seemingly should exist, but for whatever reason… isn’t. I come in search of a universally accepted streaming comic book service.

To date, I believe the most ubiquitous platform for digital comic book consumption is comixOlogy. They, like iTunes, offer an exhaustive catalog of periodicals of the pulpy nature. You find the ones you want, you purchase them, and you’re treated to enjoying them in a proprietary reader. Your digital library is always available to you, and can be read on desktops, tablets, and mobile phones alike. It’s not a bad system. But then again… it is.

I have never read Chris Claremont’s X-Men. Nor Peter David’s Hulk. I have not glimpsed at a single panel of Denny O’Neil’s Green Lantern / Green Arrow. In all instances, it’s not that there isn’t desire. It’s that I know to enjoy those tomes, I would need to sacrifice the purchase of modern books. And somehow the threat of missing what’s going on now always trumps the desire to read something that I know I’ll love. It’s the reason it took me two years after the end of Breaking Bad to actually watch the pilot. It’s the same reason I waited 33 years to begrudgingly watch Doctor Who.

In all other major media, there is a shift occurring. Because digital media needs only storage to remain viable to the consumer, the rise of subscription services are creating new audiences by burying them in an unending pile of content. Content accessible without restriction – save only for an affordable monthly fee. With Netflix, I can access an astoundingly large library of TV and movies for a tenth of what I’d spend on cable service. For less that I’d spend on a single CD, I can access Spotify and with it more music than I could ever hope to listen to in a lifetime. It seems a shame that somehow amidst all these successful services, we’ve yet to see comics do the same.

What’s holding them back? Perhaps the complicated legality of it all. Figuring out royalties for an individual item can’t be easy. Hell, don’t we all remember when TayTay Swift threw a (still ongoing) hissy about her music?  You see, Spotify and the like pay on a complicated system of plays, royalty percentages, and the actual number of paying subscribers. That way, artists may be inclined to pimp their streaming albums as means to the end. What it equates to is an average of $0.006 and $0.0084 per stream. Music though, is often a repeated enjoyment. Comics, not so much.

Take my music consumption habits for example: I make a few playlists of things I like to jam out to. One list (“Guilty Pleasures”) exists as a bank where songs check in and check out until I’m sick of them. I’ll play this list of 20-30 songs almost 4-5 times in a given week. Each song stays in my playlist for about two months or so. Anyone doing the soft math would eventually realize that in those plays, I don’t even come close to paying even the $0.99 it’d cost to purchase the song outright on iTunes. But, the artists still let ride. Why?

I’d like to think for the same reason I’d be more than happy to see my own indie titles in a subscription service where I was paid pennies for downloads. Because I know at the end of the day, content purchase is only one revenue stream. I purchase tangible CDs and graphic novels from musicians and artists I love via their crowdfunding campaigns. I purchase tickets to concerts. And I socially share things I like to those who I think might like it too. This leads to secondary and tertiary means by which the content creators I love ultimately see success. When it comes to comics, sure, we might enjoy accessing a large library of readables digitally. But we’ll also attend comic-cons where we’ll tempted to enjoy the collectible side of our favorite medium. That means the same book now potentially raises revenue multiple times. I’d consider that a win in my book.

At the end of the day, let’s be honest: It’s Marvel and DC’s passive-aggressive war with one another that will prevent a service such as I desire. They’ll continue to keep a stranglehold on their licensable properties and await the sales to spike when the next movie or TV show debuts. They’ll await the demise of the original creators still drawing a royalty on their creations.

And off to the side, great publishers like Image, Boom! and the like will push the boundaries of the medium, and enjoy their continued rising success in the direct market – small as it may be in terms of bottom line profits. Strange then to think that if the music industry could find a reasonable solution, that pulp and paper will continue to keep their heads in the sand.

Moffat leaving Doctor Who after series 10, at end of 2017…wait, what?

tumblr_mqgokqpiCp1qka8b1o1_1280And there was much rejoicing.

In an emotional rollercoaster of announcements, the BBC revealed that showrunner Steven Moffat would be leaving Doctor Who after series 10, which they then announced would not begin until Spring 2017.  The only new episode for 2016 will be the Christmas special.

Steven’s shoes will be filled by Chris Chibnall, far from a stranger to the series. In addition to numerous episodes of the series including the “mini-sode series” Pond Life, he’s written many episodes of Torchwood, and most recently was the creator and showrunner of the mystery series Broadchurch, starring David Tennant and many other Who-lumni.

Chibnall said, “Doctor Who is the ultimate BBC program: bold, unique, vastly entertaining, and adored all around the world. So it’s a privilege and a joy to be the next curator of this funny, scary and emotional family drama. I’ve loved Doctor Who since I was four years old, and I’m relishing the thought of working with the exceptional team at BBC Wales to create new characters, creatures and worlds for the Doctor to explore. Steven’s achieved the impossible by continually expanding Doctor Who’s creative ambition, while growing its global popularity. He’s been a dazzling and daring showrunner, and hearing his plans and stories for 2017, it’s clear he’ll be going out with a bang. Just to make my life difficult.”

Moffat is not without comment either – “Feels odd to be talking about leaving when I’m just starting work on the scripts for season 10, but the fact is my timey-wimey is running out. While Chris is doing his last run of Broadchurch, I’ll be finishing up on the best job in the universe and keeping the TARDIS warm for him. It took a lot of gin and tonic to talk him into this, but I am beyond delighted that one of the true stars of British Television drama will be taking the Time Lord even further into the future. At the start of season 11, Chris Chibnall will become the new showrunner of Doctor Who. And I will be thrown in a skip.”

While a year without Doctor Who seems an interminable punishment, one must remember that 2016 will bring us the spin-off series Class.  Written by noted young adult author Patrick Ness, very little is known about the series yet, save for it’s set at Coal Hill School, where the series got it its start, and made quite the return to with Clara Oswald and the late lamented Danny Pink as a teacher. BBC America has announced that they’ll be carrying the series, which begins filming this spring.

Steven Moffat’s run on Doctor Who has been met with…shall we say “mixed” reviews, with wildly varied opinions on his handling of the character and the universe.  While there will likely be cheering from certain circles, one must remember that it was his contributions, both as writer and showrunner, that made the show a truly global phenomenon.

REVIEW: Will Eisner: Champion of the Graphic Novel

Will Eisner: Champion of the Graphic Novel
By Paul Levitz
Abrams ComicArts, 224 pages, $40

Will Eisner Champion of the Graphic NovelIt took me a while to figure out that Will Eisner has been a part of my comic reading life since I was perhaps seven or eight. Mom found Jules Fieffer’s The Great Comic Book Heroes at our local library and brought it to me to read. I understood these were older works but I still recognized the main characters in the book. The final story, though, threw me. I didn’t get it, didn’t like it. I was clearly too young and not yet sophisticated enough to appreciate the Spirit section reprinted there.

But he was important enough for Feiffer to include and a few years later, when I was reading Steranko’s History of the Comics, I began to understand how important Eisner and his creation were.  By the time I got to meet Eisner, he had established himself as the premier graphic novelist and educator in our field. It was during the 1982 San Diego Comic Con when we were introduced and two days later, I was in the audience to hear his panel when I was suddenly asked to fill in for moderator Shel Dorf and interview Will on stage. We chatted about, I believe, The City and some of his other works and considering there was no time to prep, it went well enough. As he was with most everyone working in the field at the time, he was always friendly and welcoming whenever we saw one another.

It’s a real shame, though, that despite his pioneering efforts and visionary faith in the power of comics, Will Eisner has eluded the mass media fame he deserved. While there have been a few biographies (including a YA one I wrote in 2008) about Eisner, this book is the first exploration of his role in the birth of the modern day graphic novel.

will-eisner-6.nocrop.w529.h727Former DC Comics publisher Paul Levitz and I have known one another for over forty years but I have always admired his keen intellectual approach to the business of comics. Here, in his first work unrelated to DC, Levitz walks the general reader, not the fan, through the evolution of both Eisner as a creator and of the graphic novel. There had been many attempts at long-form graphic stories prior to 1978’s A Contract with God, but as he argues here, it is the first work that captured the admiration of his peers and encouraged them to follow his lead. Later in the book, there is a transcript of a panel discussion that examines why Feiffer’s Tantrum¸ released at almost the same time, didn’t attract the same level of interest.

We watch as Eisner drifts from making most of his living from comic book material, but never gives up on the medium entirely. While he focused on other projects, including a lengthy run producing P*S Magazine for the army, the comics field was evolving, first with the arrival of the Marvel Age of Comics and then the rise of the undergrounds. By the time Eisner discovered them, he was lured back at a time he was needed the most. He saw what was currently happening, jumped right in with a revival of The Spirit, but more importantly, took a teaching role at the School of Visual Arts, training and influence the next generation of major creators.

By 1978, when Contract was released, the direct sales distribution channel was gaining importance so as Eisner was encouraged to produce more, a growing sales channel was ready for him, setting the stage for the graphic novel and collection edition (two separate types of books but treated as one by the masses) explosion that followed. If anything, I had hoped to read more detailed explorations of Eisner’s 1980s output which sometimes get lumped together.

Levitz, though, does his homework, getting collaborators and friends to help him trace why Eisner has endured and how his efforts helped shape the WillEisner425publishing world we currently live in.

The book measures 11.5” x 11”, an odd size to be sure, but one that allows Wisner’s work to be examined without crowding the words.  Designers C.S. Fossett and John Lind get credit for selecting a handful of the most familiar images and then stuffing the book with many other examples of Eisner’s strong storytelling and design. Much of it is shot from the original art and printed on heavy stock, looks wonderful.

Although Eisner died eleven years ago this month, his works remain in print and his influence can be found in monthly periodicals and the plethora of sequential stories aimed at all ages, covering all manner of content. The book does a fine job celebrating Eisner’s contributions and is written in a way that fans and the general public can appreciate.

The Law Is A Ass

Bob Ingersoll The Law Is A Ass #379

WONDER WOMAN GOES OUT FOR TRICK OR TREATMENT

“Who watches the watchmen?” Not sure that one’s ever been answered. Who judges the judges? Check the byline.

Deborah Domaine, A.K.A. the super villainess The Cheetah, was serving a sentence in Iron Heights Prison. In Sensation Comics Featuring Wonder Woman #15, a federal court was holding a hearing on Debbi’s motion to be transferred to the Ohlendorff Metahuman Psychiatric Hospital, because Iron Heights wasn’t equipped to treat her “severe dissociative identity disorder.”

Sensation Comics Featuring Wonder Woman #41 (2015) - Page 12

The prosecution called Wonder Woman as a court-appointed expert witness on prison security. During Wonder Woman’s testimony, we got all the background exposition they don’t put into captions anymore. Last year, Debbi escaped from the psychiatric facility of Concord Federal Prison and attacked Wonder Woman in the National Air and Space Museum. During the ensuing fight – what’s a comic book story without an ensuing fight? – one hundred thirty-eight innocent bystanders were injured. Collateral damage. Wow, that fight had more collateral than ten bank loans. Anyway, Debbi was recaptured and transferred from Concord to the more-secure Iron Heights.

According to Debbi’s lawyer, Iron Heights’s medical staff adjusted Debbi’s medication and Debbi’s behavior had stabilized. So Debbi filed a motion to be transferred to Ohlendorff where she could receive the treatment necessary to cure her of her mental illness. Wonder Woman opposed the transfer and testified Ohlendorff’s security protocols were too lax to insure that Debbi would remain incarcerated there.

Why was Wonder Woman called as a court-appointed expert on prison security? I guess because her foes escape incarceration every alternate Tuesday that gave her expertise on which DCU prisons are secure. Personally, I’d question Wonder Woman’s expert status unless she said none of them are. DCU prisons have the biggest Open Door Policy since John Hay.

Unfortunately for Wonder Woman but not for the story – this was only page 4, something had to fill out the remaining pages – Judge Holzman transferred Debbi Ohlendorff. Then, short story shorter; Debbi escaped, Wonder Woman captured her, and Debbi went back to Iron Heights.

You might be wondering how Ohlendorff, a psychiatric hospital dedicated to treating metahumans with mental illness problems, could lack sufficient security to make sure its extremely dangerous patients all stayed on the grounds. I know I did. Seems a bit counterproductive. But, then, so does making a hotdog that’s bigger than the bun and it’s not like that never happens.

I wondered even more about defense counsel’s argument that neither Iron Heights nor any other metahuman prison was equipped to treat Debbi’s mental condition. The Eighth Amendment’s cruel and unusual punishment clause requires prisons to supply inmates with adequate medical care. The US Supreme Court said so in Estelle v. Gamble. Federal courts have applied Estelle’s rule both to physical health and to mental health care. When prisons show an intentional indifference to the mental health issues of its inmates, they violate the Eighth Amendment. Among the ways prisons can show indifference are a failure to have an adequate, qualified mental health staff on-site and the failure of large prisons to have a licenced psychiatrist on staff.

We know Iron Heights, like other DCU prisons, locks its cell doors on the honor system, so it might also consider viol-Eight-ing the Amendment to be as a badge of honor. Maybe it didn’t have on-site psychiatric staff, either. In that case…

Wait. No. No. Defense counsel said that Debbi received medications in Iron Heights, that Debbi’s medication had been adjusted by Iron Heights, and that the medication had stabilized Debbi’s behavior. Someone on Iron Heights’s staff was administering those meds. More important, someone on staff was competent enough to evaluate Debbi’s medications and adjust them by prescribing a proper dosage which had stabilized Debbi. That someone had to be a doctor. Debbi was receiving some treatment in Iron Heights, treatment that seemed to be working. How was Iron Heights not equipped to handle her mental disorder?

But for the sake of argument, let’s assume Debbi’s argument was valid. There is a case which held the failure to transfer an inmate from a prison to a hospital when the prison could not adequately treat the inmate was deliberate indifference; lending support to Judge Holzman’s ruling. But transferring Debbi to a hospital the judge knew couldn’t keep her locked up, that’s a different matter.

Mentally-ill inmates may have the right to be transferred to a hospital, but they don’t have the right to choose which hospital. Courts have ruled prisons must give inmates medical treatment, but they don’t have to give the exact treatment the inmate requests if other treatments are adequate. In addition, the government’s responsibility to protect its citizens means mentally-ill inmates should be hospitalized in an environment that is consistent both with their treatment and with public safety. If the defendants demonstrate a threat to public safety – by, say, escaping every alternate Tuesday and injuring one hundred thirty-eight innocent bystanders – courts are justified in having them hospitalized in a more restrictive hospital than the one the defendant might choose.

Judge Holzman might have granted Debbi’s motion to be transferred to a hospital. But in light of her past record, I find it doubtful that Judge Holzman would have transferred her to a hospital that a court-appointed expert on security testified wouldn’t be able to hold her. Hell, Judge Holzman didn’t even let Debbi into his courtroom; Debbi attend the motion hearing via closed-circuit television. If Holzman thought Debbi was so dangerous that he didn’t want her in his courtroom; he would not have sent her to an insecure mental health facility. He would have sent her to a hospital but one that was more secure. Like Concord or Arkham Asylum. Then Debbi could receive the treatment she required and the public would be safer, because Debbi was in a more-secure facility.

One where she might only be able to escape every third Tuesday.